Shaolin Da Hong Quan lyrics for Yi Er San Lu

Wai Jia: The Kung Fu Forum Shaolin Kung Fu
1

Shaolin Da Hong Quan Yi Lu -

Section 1

    • Tong-zi Bai Fu (Child Bows to Buddha)
  2. Bai Yun Gai Ding (White Cloud Covers Peak)
  3. – Tiao Pu Bu An Zhang (Skipping Prostrate Step Pressing Palm)
    • Qi Shen Pan Zhou (Raise Body Coil Elbow)
  5. – Zhen Jiao, Shuang Yun Ding (Stomping Foot & Double Cloud Peak)
  6. – Shuang Bu Qi Qing (Forward Step Seven Stars)
    • Dan Bian (Single Whip)
    • Huai Zhong Bao Yue (Chest center Embraces Moon)
    • Chong Tian Pao (Dashing Sky Cannon)
    • Dao Bu San Chong (Reverse Step Three Dashing Punches)
  • Xiao Kua Hu (Small Stride Tiger)

Section 2

    • Shang Bu San Za Quan (Forward Step Three Smashing Punches)
  2. – Tiao Bu, Shuang Yuan Shou (Skipping Step, Double Pulling/Leading Hands)
  3. – Zhen Jiao, Shuang Yun Ding (Stomping Foot & Double Cloud Peak)
  4. – Shuang Bu Qi Qing (Forward Step Seven Stars)
    • Dan Bian (Single Whip)
    • Huai Zhong Bao Yue (Chest center Embraces Moon)
    • Shang Bu Ban Shou - (Forward Step Pulling/Wrenching Hand)
    • Zhuan Shen Yi Quan (Turn Body One Punch)
  9. – Liang Qiang Shou (Both Spearing Hands)
  10. – Hui Tou Wang Yue (Turn Head Gaze Moon)

Section 3

  1. – San Pa Shou (Three Gathering/Snatching Hands)
  2. – Shuang Zhen Jiao, Xiao Kua Hu (Double Stomping Feet & Small Stride Tiger)
  3. – Zhuo Shou Pao, Gai Tiao Bu (Seizing Hand Cannon & Cover Skipping Step)
    – Pu Bu An Zhang [Dan Cha] (Prostrate Step Pressing Palm)
    • Qi Shen Pan Zhou (Raise Body Coil Elbow)
  5. – Zhuan Shen, Ying Mian Da, Yuan Shou (Turn Body, Greet Face Strike, Pulling/Leading Hand)
  6. – Zhuan Shen Zuo Pan Zhou (Turn Body Left Coil Elbow)
  7. – Zhuan Shen You Pan Shou (Turn Body Right Coil Elbow)
  8. – Zhuo Shou Pao (Seizing Hand Cannon)
  9. Zhuan Shen, Yi Quan Yi Qiang- (Turn Body, One Punch & One Spear)
  10. – Shi-Zi Pai Jiao (Cross Patting Feet)
  11. – Er Qi Jiao (Two Rising Feet)
    • Jin Gang Dao Que (Jingang Pounds Mortar)

Section 4

  1. – Zhuo Shou Pao (Seizing Hand Cannon)
    • Jin Ji Du Li (Golden Chicken Independently Stands)
    • Zha Di Jue (Penetrating Ground Peg)
    • San Chu Shou (Three Exiting Hands)
  5. – Tou Long Zhuan Feng (Pilfering Dragon Turns Wind)
  6. – Yao-Zi Fan Shen (Sparrowhawk Turns-over Body)
  7. – Shuang Jian Jiao, Hai Di Pao (Double Stomping Feet, Ocean Bottom Cannon)
    • Qi Shen, Shang Bu Yi Quan (Raise Body, Forward Step One Punch)
      – Shuang Qiang Shou (Double Spear Hands)
    • Bao Zhou, Yao-Zi Zuan Lin (Embrace Elbow, Sparrowhawk Drills Forest)
  10. () – Qi Shen Dan Ti (Raise Body Single Kick – Springing Leg)
  11. – You Shuang Bai Jiao (Right Double Swinging Foot)
  12. – Tiao Bu, Shuang Yuan Shou (Skipping Step, Double Pulling/Leading Hands)
  13. – Dao Bu Yun Ding Da Kua Hu (Reverse Step, Cloud Peak & Big Stride Tiger)
  14. – Zhuo Shou Pao (Seizing Hand Cannon)
    – Dan Cha (Single Cross)
  15. – Shuang Qiang Shou (Double Spear Hands)
    – Er Qi Jiao (Two Lifting Feet)
    • Wu Hua Kua Shan (Five Flowers Sit-upon Mountain)
    • Tong-zi Bai Fu (Child Bows to Buddha)

Shaolin Da Hong Quan Er Lu -

    • Tong-zi Bai Fu (Child Bows to Buddha)
    • San Kan Shou (Three Chopping Hands)
    • San Za Quan (Three Smashing Punches)

  4. – Tiao Bu, Yuan Shou (Skipping Step, Pulling/Leading Hands)

  5. – Zhen Jiao, Shuang Yun Ding (Stomping Feet & Double Cloud Peak)

  6. – Shuang Bu Qi Qing (Forward Step Seven Stars)

  7. – Zhuo Shou Pao, Gai Tiao Bu (Seizing Hand Cannon & Cover Skipping Step)
    – Pu Bu An Zhang [Dan Cha] (Prostrate Step Pressing Palm)

  8. – Shuang Qiang Shou (Double Spear Hands)
    – Er Qi Jiao (Two Lifting Feet)

    • Kua Shan (Sit-upon Mountain)

  10. – Shang Bu Zhuan Shen, Tiao Bu, Pu Bu An Zhang (Forward Step, Turn Body & Prostrate Step Pressing Palm)

    • Chong Tian Pao (Dashing Sky Cannon)

  12. – Shuang Zhen Jiao, Wai Bai Lian, Kua Hu (Double Stomping Feet, Outside Swinging Lotus, & Small Stride Tiger Posture)

  13. – Zhuo Shou Pao (Seizing Hand Cannon)

  14. – Sao Tui (Sweeping Leg)

  15. – You Qiang Shou (Right Spear Hand)
    – Er Qi Jiao (Two Lifting Feet)

    • Kua Shan (Sit-upon Mountain)

  17. – Zhuo Shou Pao (Seizing Hand Cannon)

  18. – You Gong Bu Chong Quan (Right Bow Step Dashing Punch)

  19. – Shuang Qiang Shou (Double Spear Hands)

  20. – La Gong Shi (Draw Bow Posture)

    • Tong-zi Bai Fu (Child Bows to Buddha)

Shaolin Da Hong Quan San Lu -

    • Tong-zi Bai Fu (Child Bows to Buddha)
    • San Hong Shou (Three Exploding Hands)
    • San Za Quan (Three Smashing Punches)

  4. – Tiao Bu, Yuan Shou (Skipping Step, Pulling/Leading Hands)

  5. – Zhen Jiao, Shuang Yun Ding (Stomping Feet & Double Cloud Peak)

  6. – Shuang Bu Qi Qing (Forward Step Seven Stars)

    • Dan Bian (Single Whip)
    • Huai Zhong Bao Yue (Chest center Embraces Moon)
      – San Yao Shen (Three Shaking/Rocking Body)

  9. – Fan Shen Da (Turn-over Body Strike)

  10. – Shuang Jian Jiao (Ocean Bottom Cannon)

    • Chong Tian Pao (Dashing Sky Cannon)

  12. – Wu-zi Deng Ke (Five Ascending Branches)
    –Da Kua Hu (Big Stride Tiger)

    • San Hong Shou (Three Exploding Hands)

  14. – Zhua Ni Ying Mian Sa (Seize Mud Greet Face Scatter)

  15. – Zuo Bian Guo (Left Side Wrap-around)

  16. – You Bian Guo (Right Side Wrap-around)

  17. – Zhuo Shou Pao (Seizing Hand Cannon)

  18. – You Gong Bu Dan Quan (Right Bow Step Dashing Punch)

  19. – Shuang Qiang Shou (Double Spear Hands)

  20. – La Gong Shi (Draw Bow Posture)

    • Tong-zi Bai Fu (Child Bows to Buddha)
2

Took out unimportant rant

3

Simple, he’s marking the forms when he publicaly demonstrates them. This is why they are different each time. He forgets how he marked them the last time .He probably has only shown the real form to his closest students.

It’s pretty traditional Chinese teaching. Inner door/Outer door students and all that.

Why do you think I have like 15+versions of the 32 Tai Tzu Chang Chuan? Because each is marked differently, and one can piece together the full set by studying them all, that’s why.

That is also why serious students have allways sought instruction from more than one teacher of thier style. Each one marks the form differently, and you can figure out the real set if you travel around.

4

[QUOTE=Sal Canzonieri;958440]

  • I have never seen him do all the complete postures and movements of any set in any of his videos, nor in person.

  • he either has missing moves or mixes the order of the moves in just about every set I have seen him do.

  • every video (and there are many from the last 10 years or more) he does the forms differently with missing postures in all of them, but different ones in each video are missing each time.[/QUOTE]

i thought you were already aware of the reasons, as royal dragon explains. the same can be said about almost any shaolin master, including your favorite master zhu tianxi. you even talk about it and point it out yourself.

it should be noted however, that when master deyang teaches personal students (for example, dahongquan) all of the movements and techniques left out in his performances are present and taught in minute detail.

  • he teaches each of his students and each of his schools different versions of the forms.

“each of his schools”? he only has one school in dengfeng, and one international branch in italy run by his disciples.

as for teaching different versions,

it is not only that different versions exist within different lines of lineage, but also that different versions are taught by the same master depending on the students’ individual level of understanding and ability.

this is how it was explained to me when i questioned him on it before. i have also learned a few different versions of the same sets under him. each version becomes more dense in technique as the students’ understanding of the previous deepens. it is a progressive educational strategy in shaolin training. his instructional video on xiaohongquan, for example, is the bare-bones, beginner, and “commercial” version.

And in my personal opinion he does his forms so fast that the footwork and body mechanics appear sloppy.

in this video many stances and postures are skipped, sped up, and stylized… but if you think it is in any way sloppy, i would looove to see some forms of yours!
http://www.youtube.com/watch?v=kj2WNh66tro

5

The way i look at it, each move in the form represents a whole family of techniques, which includes many variations. So, so long as you are doing a move that truely represents the fundamental essence, principals and actions of that family, the form is correct.

This means there can be hundres, maybe even thousands of “Correct” versions of the form.

Take my Tai Tzu 32 for example. I do 2 distinct sets I learned from Sal. The one his teacher taught him, and the one he developed from all his research. However there is a third one I do that I call my mix and match.

In my mix in match, I do every posture differently every time I do the set. lets just take the opening. I have 14 versions documented, each opens slightly different. each time I do the set, I open like a different version I have seen.

I do the same for each posture. each version of the form does the third posture different, so i keep rotating between them.

now, I may do the opening from the first version I have, and the third posture from the 8th version, and the 10th posture from the 4th version and so on, and so on, so it ends up that I never do the same mix and match form twice.

Heck, sometimes variations on the postures from all 14 versions that i know end up in one performance of the form. By mixing it up like this, you have virtually unlimited combinations. It’s like a rubix cube.

Heck, because i have chosen this form to be my specialty, if I keep this up it won’t be long before I can totally free style it like a raper fre styles a rap. Pretty soon, I will be able to do the entire form, with all the postures in any random order, and not miss a single one, doing random postures form any version, and it will all work and make sense too.

6

Actually Sal, no offense meant here, but I have video from the last time you came to teach me, and you do the Tai tzu 4 times, each time you did it a bit different. The first 2 times you skipped several moves.

Also, the last version you e-mailed me, you have moves in there you never taught me (not counting the additions from your research), and skipped one or two that you had.

I think everyone does this. I for one, plan to teach a common general public version to anyone I teach, until I see they have a genuine passion for this particular style. Then, and only then will I teach them what you taught me.

I have a freind that teaches Zhao Bao Taji. He ONLY teaches a Zhao Baoified version of the yang 24, until he sees a student that has a real, and genuine passion for the style. Only then does he teach his actual art.

It’s a fairly common thing when you think about it.

7

[QUOTE=LFJ;958616]i thought you were already aware of the reasons, as royal dragon explains. the same can be said about almost any shaolin master, including your favorite master zhu tianxi. you even talk about it and point it out yourself.

it should be noted however, that when master deyang teaches personal students (for example, dahongquan) all of the movements and techniques left out in his performances are present and taught in minute detail.

“each of his schools”? he only has one school in dengfeng, and one international branch in italy run by his disciples.

as for teaching different versions,

it is not only that different versions exist within different lines of lineage, but also that different versions are taught by the same master depending on the students’ individual level of understanding and ability.

this is how it was explained to me when i questioned him on it before. i have also learned a few different versions of the same sets under him. each version becomes more dense in technique as the students’ understanding of the previous deepens. it is a progressive educational strategy in shaolin training. his instructional video on xiaohongquan, for example, is the bare-bones, beginner, and “commercial” version.

in this video many stances and postures are skipped, sped up, and stylized… but if you think it is in any way sloppy, i would looove to see some forms of yours!
http://www.youtube.com/watch?v=kj2WNh66tro[/QUOTE]

Reply]
Actually, he is all arms in this demo. That is pretty sloppy by internal standards. It’s a phenomenal physical performance, don’t get me wrong, but he IS sacrificing the internal gems, for public flash. Not that i could look that good, but I can still see what he is leaving out for effect on the viewer.

8

back on topic of the Dan Hong Quan

In looking at the postures of this set, these moves are just about the only ones that are in common with Xiao Hong Quan (pretty important set of movements though):

Zhen Jiao, Shuang Yun Ding (Stomping Foot & Double Cloud Peak)
6. Shuang Bu Qi Qing (Forward Step Seven Stars)
7. - Dan Bian (Single Whip)
8. - Huai Zhong Bao Yue (Chest center Embraces Moon)
9. - Chong Tian Pao (Dashing Sky Cannon)

Also, the end of the Er Lu and the San Lu sections of the Da Hong Quan are the same as the ending of the Lao Hong Quan sets (which asre said to have originated with Zhao Kuangyin): La Gong Shi (Draw Bow Posture).
Which is a signature salute that is said to represent the Zhao family and comes from the Big Vast Fist (Da Hong Quan) sets.
So, that is pretty significant as well.

Most (90%) of the movements from this Shaolin Da Hong Quan seem to come from something else rather than the Xiao Hong Quan that came from Li Sou.
Like all the Chang Quan / Taiji Quan like sets, these Shaolin Da Hong Quan sets open to the left momentarily, but the continue to the right.

I see some sequences of movements also found in various Rou Quan (Soft/supple boxing) and Pao Quan (Cannon Boxing, which is a subset of Hong Quan) sets as well.

9

speaking of the ending, I allways thought that the last section of Lao Hong Quan should be the first, and the 3rd section should be last because of the way it ends.

Is it possible that our version of the set is marked, maybe even from several generations past because of this?

10

[QUOTE=Royal Dragon;958758]speaking of the ending, I always thought that the last section of Lao Hong Quan should be the first, and the 3rd section should be last because of the way it ends.

Is it possible that our version of the set is marked, maybe even from several generations past because of this?[/QUOTE]

Now that makes no sense at all. The last section of Lao Hong Quan is where it should be. The ideas of the set are introduced from the Yi Lu to the Si Lu in logical order, from more simple and more Big Vast Fist like to more complex and more Rou Quan /Chang Quan like at the end (which, since you are used to Chang Quan, is why you feel it should be first, obviously).

I already told you all the places the Lao Hong Quan sets were marked.

I got all the info from Shi DeQian, some years back.

11

Yes, I know, but it still just feels weird to me because the 4rth section opens like forms normally do, and the 3rd one closes the way forms normally end. All the others end with the bowstance/drawing the bow posture like Tai tzu sets do in between roads in other tai tzu systems.

Assuming it is supposed to be that way (and I can’t argue really as i don’t have the expertise), why is there a typical opening move and closing move in between the 3rd and 4rth roads, instead of at the beginning, and end of this set of routines?

12

[QUOTE=Royal Dragon;958767]Yes, I know, but it still just feels weird to me because the 4rth section opens like forms normally do, and the 3rd one closes the way forms normally end. All the others end with the bowstance/drawing the bow posture like Tai tzu sets do in between roads in other tai tzu systems.

Assuming it is supposed to be that way (and I can’t argue really as i don’t have the expertise), why is there a typical opening move and closing move in between the 3rd and 4rth roads, instead of at the beginning, and end of this set of routines?[/QUOTE]

Well, Roads 1 and 4 of the Shaolin Lao Hong Quan all end with the Pull the Bow posture, (same as Roads 2 and 3 of Shaolin Da Hong Quan shown above).

Road 2 of Lao Hong Quan ends with you standing sideways and then immediately goes into Road 3 from that posture which if you can read Chinese says to do a double jumping stomp with your feet before proceeding with Road 3.

Road 3 of Lao Hong Quan has Pull the Bow, another posture, then Pull the Bow again and then a crescent kick.

Road 4 on the surface appears to start with a ‘Jingang Pound Mortar’ movement, but it is not that at all, it is a nei gong movement that is done in Chen Taiji, where they rub their belly with the clenched fists.

The trouble is that you are seeing these are 4 separate sets, when they are done in a row, the four flow one into the other. It’s 108 different postures, not counting the repeated ones.

Plus, if you don’t know the Rou Quan foundational sets, which are embedded in the Lao Hong Quan, then you are missing what motivates the movements and why they are done the way they are done. The Chang Quan / Hong Quan aspects are just a piece of it.

13

Plus, if you don’t know the Rou Quan foundational sets, which are embedded in the Lao Hong Quan, then you are missing what motivates the movements and why they are done the way they are done. The Chang Quan / Hong Quan aspects are just a piece of it.

Reply]
This, I think, is my missing piece. I really need to come see you for a week or so so I can be exposed to this part of the puzzle.

14

[QUOTE=Royal Dragon;958902]Plus, if you don’t know the Rou Quan foundational sets, which are embedded in the Lao Hong Quan, then you are missing what motivates the movements and why they are done the way they are done. The Chang Quan / Hong Quan aspects are just a piece of it.

Reply]
This, I think, is my missing piece. I really need to come see you for a week or so so I can be exposed to this part of the puzzle.[/QUOTE]

The Rou Quan is the vital part of all Shaolin.

I might be in Chicago for a Halloween show. I’ll know soon.

15

Lyrics are a set of words that make up a song. The writer of lyrics is a lyricist or lyrist. The meaning of lyrics can either be explicit or implicit. Some lyrics are abstract, almost unintelligible, and, in such cases, their explication emphasizes form, articulation, meter, and symmetry of expression. The lyricist of traditional musical forms such as Opera is known as a librettist. Currently, there are many websites featuring song lyrics. This offering, however, is controversial, since some sites include copyrighted lyrics offered without the holder’s permission. The U.S. Music Publishers’ Association which represents sheet music companies, launched a legal campaign against such websites in December 2005, the MPA’s president, Lauren Keiser, said the free lyrics web sites are completely illegal and wanted some website operators jailed.

16

[QUOTE=Matt John;1000128]Lyrics are a set of words that make up a song. The writer of lyrics is a lyricist or lyrist. The meaning of lyrics can either be explicit or implicit. Some lyrics are abstract, almost unintelligible, and, in such cases, their explication emphasizes form, articulation, meter, and symmetry of expression. The lyricist of traditional musical forms such as Opera is known as a librettist. Currently, there are many websites featuring song lyrics. This offering, however, is controversial, since some sites include copyrighted lyrics offered without the holder’s permission. The U.S. Music Publishers’ Association which represents sheet music companies, launched a legal campaign against such websites in December 2005, the MPA’s president, Lauren Keiser, said the free lyrics web sites are completely illegal and wanted some website operators jailed.[/QUOTE]

Reply]
This has absolutely nothing to do wiht the topic, or Kung Fu at all. Nice first post though. Do you know anything about Kung Fu? or are you just a Troll?